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논문검색은 역시 페이퍼서치

한국문학이론과 비평검색

Korean literary theory and criticism (KLTC)


  • - 주제 : 어문학분야 > 국문학
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1598-3501
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 12권 0호 (2001)

편집인의 말

정덕준
1,000
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바흐찐과 한국문학의 수용

이득재 ( Deuk-jae Lee )
5,700
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M. bakhtin has influenced korean literary discourses with his key conceptions, “dialog”’ “carnival”, “chronotope”. As noted, his dialog may well be defined as dialogism to overcome monotogism which has been expressed in several ways. Especially, I am interested in his dialog becaused it is related to modernity. In this point of view, his dialog is a problem to place dialogism and monologismt and then to displace monologism to dialogism. M. Bakhtin saw modernity as a struggle betwween laughter and fear. If we could apply this to modem korean literature, it can be said that korean literature has developed from fear to laughter on the ground that korean literature started on the dual faces of modernity such as fear and laughter and oppressed the laughter aspect. In this respect, I would trace the oppressed aspect of korean literature until contemporary korean literature on the ground that korean Literature expressed that respect until nowdays. If doing so, I could conclude that our korean literature has overcome until now monologism as one aspect of modernity expressed in fear and that is the duty which Korean literature must burden on its shoulder to enlarge democratic perspective.

바흐찐, 생태주의, 그리고 페미니즘 - 「숨은 꽃」을 대상으로 -

안숙원 ( Ahn Sook-won )
8,000
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I have examined the idea of ecology, feminism and Bakhtin embedded in “A Hidden Flower” written by a Korean female writer, Yang, Gwi-Ja. The short story showed me the Bakhtinean thought, so called, dialogical imagination. Also, I have found Bakhtin’s main idea, the ‘otherness’ which resists the dominant discourse, patriarchy in Yang’s work. Here,I tried to discuss ecology, feminism and Bakhtin’s idea referring to eccentric subjects. That’s why eco-criticism focuses on the nature itself and feminism insists on the gender. The nature and women have been oppressed by phallo-centricism for a long time, either in the real life or in the novels. Most novelists have used nature, environment, outward, place, landscape, setting as their story background. At the same time, women were depicted inferior to the men in their works. But Bakhtin emphasized other’s voice and exotopy in the literary texts. These subversive Identities perform utopia as a critique which presented in the Bakhtin’s carnivalism. I have discovered those Identities in Yang, Gui- Ja’s “A Hidden Flower”. First, the text represented the travel plot that has a quest-motif of the heroine wondering herself as a writer. She’s the 1st person-narrator and a self-conscious character. She has revealed her identity as a real writer, which is a kind of metafiction. The dialogic relationship essentially exist in the metafiction. Second, ‘a hidden flower’ of the text symbolizes the berried, concealed f covered beings in the world. They would be subaltern including nature and gender in our dominant power like a patriarchiy. Bakhtin preferred unofficial culture related to marginal beings to that of the mainstream, official culture, and “A Hidden Flower” suggests such a viewpoint with a polyphonic style.

「자랏골의 비가」의 크로노토프와 담론

김병우 ( Byung-wook Kim )
6,300
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In this essay I aim to describe and intorpret chronotope and discourse of The Elegy of the Freshwater Turtle’s Valley, chronotope is a Bakbtinean term. What precisely is a chronotope? In its primary sense, a chronotope is a way of understanding experience; it is a specific form-shaping ideology for understanding the nature of events and actions. Actions are necessarily performed in a specific contents; chronotopes differ by the ways in which they understand context and the relation of actions and events to it. In literature and culture generally’ time is always in one way or another historical and biographical, and space is always social; thus the chronotope in culture could be defined as a field of historical, biographical, and social relations. At any given time literature (especially the novel) offers a multiplicity of chronotopes. Taken as a whole, literature is a heterochronous‘ A great number of literary genres are available for conceptualizing the image of a person, the processes of history, and the dynamics of society. Familiarity with a variety of genres therefore offers a rich store of choices for understanding particular aspects of experience. In any given instance, some chronotopes may be more adequate than otherst According to Jay Ladin we can define major chronotopes as chronotopes that 1) control local chronotopes ; 2) through this control, enter into dialogic relations with local chronotopes; as a result of these relations, become trans-subjective chronotopes that enter the words of another r performer, and reader by requiring us to construct space-time(i.e., perspectives) that can accommodate these complex relations ; and 4) provide the ground for images of human possibility that also extent dynamically into world of author, performer, and reader. Given this definition, it is dear that we need some way of describing common relationships among chronotopes, so that analyses can take account of these relationships without being hopelessly bogged down in describing that local particulars. The following is a list of the most common chronotopic relations. They are 1) simple sequence, 2) sequential pattern, 3) dialectical, 4) paradoxical, 5) simple dialogical, 6) compound, 7) overlapping, 8) nested, 9) hierachical. According to Bakhtin, language is never a unitary system of norms. On the contrary, in language, as in psyche and everywhere else in culture, order is never complete and always requires work. It is a task, a project( always ongoing and ever unfinished, and it is always opposed to the essential messiness of the world. In language, messiness is the result of the complexities of daily living, with all its unforeseen, small, prosaic purposes and shifts in mood and evaluation t which are not reducible to a system. We can find many examples of folk rhetoric technique in Song Gee sook’s The Elegy of the Freshwater Turtle’s Valley. So I describe and interpret these techniques precisely. According to Bakhtin, the various languages of heteroglossia have their own ways of accenting and intoning given words, and there may be a tonality to the whole language. But in using the inherited resource of linguistic experience (which is to say, other languages of heteroglossia), each way of speaking employs a completely different principle for marking differences and for estaldishing units. Because every time we speak, we respond to something spoken before and we take a stand in relation to earlier utterances about the topic, so folk rhetorical style is very important in fiction. In using words and speaking about topics, we find them already populated, indeed over- populated with other people’s utterances about them. Consequently, our speech becomes extremely about them.

대화와 카니발 : 김소월, 김지하, 최인훈의 바흐찐적 독해

여홍상 ( Hong-sang Yeo )
6,800
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This study tries to read some lyrical poems of Sowol Kim, Jiha Kim’s “Five Enemies” a sort of ballad poem, and Inhoon Choi’s novel The Square, in terms of Mikhail M. Bakhtin’s concepts of “dialgoue” and “carnival”, two key words in his literary theory. Sowol Kim’s representative poems such as “A Long Time After,” “Can’t Forget,” “Departure,” “Wangshimni,” “Azealea, \” and “The Mountain Flower,” reveal a typical structure of an “internal dialogism” between narrator and narratee(man or nature), as suggested by the social decorum of the ending phrase peculiar to Korean language. In particular’ a radically new reading of “The Mountain Flowers” is provided, focusing on the critical significance of the phrase, “chomanchi honjaseo.” Jiha Kim’s modem ‘pansori,’ “Five Enemies”, foregrounds Bakhtinian notion of ‘novelistic discourse,’ intermixing various traditional Korean literary genres and satirizing the official language of the contemporary military regime with a carnivalesque laughter of the people at the grotesque and nightmarish reality. In contrast, Inhoon Choi’s novel The Square, employing Myeongjoon Lee, an anti-hero, as the ‘center of consciousness,’ seems to be rather ‘monological,’ in spite of its outspoken critique of the official ideologies of both south and north Koreas. In opposition to the authoritiative ‘outer words’ of the ‘square’, Lee attempts to seek for his own meaningful ‘inner words’ and an authentic identity by keeping and holding onto a ‘bower, shared exclusively with Eunhyae, However, as his attempt fails, he chooses to merge himself with the mythical figure of the ‘sea’, The conclusion suggests that Bakhtin's literary theory, as this paper tries to show, may well contribute to a new reading of Korean literary works across different genres.

‘단편서사시’의 대화적 담론 구조

송기한 ( Ki-han Sohng )
6,300
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The purpose of this study is to analyse the Dialectic Discourse of Tanpyonsosasi. Tanpyonsosasi was generated from saying author and audience. In Tanpyonsosasi,the poet indirectly addresses his intention through other's utterances. So, we may say that the style of Tanpyonsosasi is that of indirect narration. These charcteristics in the structure of discourse are the result of Tanpyonsosasi contact with the incompleted audience. Generally speaking, I regard Im Hwa’s peotry of this period as the dialectic process of audience.

이수복 시의 텍스트성

문호성 ( Ho-seong Moon )
6,400
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The purpose of this paper is to regard Su-Bok Lee’s poems as the utterance of text producer, to analyze them from the text-linguistic viewpoint,and then to demonstrate the text plan and its effects occurring in the process of communication between the producer and the receiver of text. His poetical realm can be summarized as followings : First,his poetical realm was designed by specifying a situational model Second, it was acquired through the process of accepting substitutional situations. Finally, he activated the connotations contained in his poetic text by securing paradoxical space.

황순원 단편소설의 서정성 연구

임채옥 ( Che-uk Lim )
6,600
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This paper shows the characteristics of lyrical novels which are presented by “the swamp〈늪〉” and “the lost people〈잃어 버린 사람들〉”, short novels of Hwang sun-won, through the personalization of characters and descriptive method of the plots. If the lyrical structrue is made to advance by the change of consciousness or psycological progress of character's inner life, these two works show how to make progress in plots. At first stage, “swamp”, the psychological changes of Tae-seop and characters are described with free indirect discourse. However} they are described with mixed discourses or first person at the urgent stage. Through this method, the lyrical structures make progress with not the behaviors and accidents ot characters, but the changes and conflicts of the inner consciousness changes. It is a literal trait for the writer to lead the lyrical structures by omniscient-author point of view or displaying the deep thoughts of characters with the view points of speaker and Tae-seop. This is the proper descriptive method in presenting the hero “Taeseop” as a passive and introspective person. When we consider the thematic development and basic background in “lost people”, It is a good work to present lyricism. This work is consisted of the reversed structures rather than the lyric development of time. Moreover, the retroactive presentation is appeared to recall the past accidents or situation in the fabricated present with the seok-i’s view point and narrator’s one being replaced and combined ingeniously. Previous sentences show or indicate the situation description and case development, and latter sentences do character’s inner shape directly or indirectly. The writer’s intentional strategy aims at the effects of descriptive skills. This does perform effectively to make people’s personalization, to make novel poetic, and to make character's secrecies and variousness appeared. These plot developments are not by the behavior’s size, but the character’s inner consciousness and the unigue descriptive method. And, characters are described as passive and adaptive to a fabricated situation. All these things are writer’s unique view-points in novel through lyrical novel skill.

박상륭의 『죽음의 한 연구』론

허명숙 ( Myung-sook Huh )
6,600
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Bak Sang-ryung’s「A Study of Death」is a novel that uses symbolic motif and mythology of Christianity, Buddhism, Alchemy, Psychoanalysis and so on. This novel depicts the process to change worldly man into God through doings of a monk for 40 days in ‘Yuri’. During that time arguments of this work obtain results in the part to interpret mythological element and symbolic meaning. But these arguments are still incomplete in the part to research inner principle that integrates opposite and contradictory thing of this work. Therefore this paper will seek imaginative unity of this work through the principles of Yin and Yang. Main background ‘Yuri’ of this work is barren space where the earth and the water are disharmony. Each earth and water can grasp symbol of Yin and Yang. Connecting disharmony of Yin and Yang with human life, they can be said the male and female. This work gropes about situation of the harmony and reconciliation of the female and male that exist in a human inside. Murder and coitus of ‘I’ in ‘Yuri,pry into flesh. In the ‘Eub’ ‘I’ do preaching of interpretation that integrates heterogeneous symbols. Then he conies back ‘Yuri’ again, and he is executed with paying the price of murder. Every course is expressed by process that a maltreating man is become a maltreated woman. Thus this work implies religious meaning in which the male and female, sexual and murderous desire, and death and revival are a unit.
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I tried to research the meaning of the text as well as the peculiar discourse as a combination narrative of fantasy and mimesis which described in “The Lady of Merry-go-round circus”. My research shows Jeon Kyoung-Lin, the novelist, upholds the traditional realism,the restoration of subjectivity - self, as a rule of discourse. However,Jeon’s text not only has something to do with the above traditional tendency in its inside but its outer related to somewhere anti-traditional realism composed of fantastic discourse factors in the opposite direction, The text of The Lady of Merry -go -round circus tells us the sporadic of post-modernism, the anonymous self’ and the loss of identi-ty scrupulously through the diff rance-situation of textual meaning.
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